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Full text of "Prospectus of the Ontario College of Art: 1948-1949"

P R S P E C T y s 



OF THE ONTARIO 



COLLEGE OF ART 



1948-1949 



PROSPECTUS 



OF THE ONTARIO 



COLLEGE F A R T 



1948 



949 



Digitized by the Internet Archive 

in 2012 with funding from 

The Ontario College of Art & Design - University of Toronto Libraries 



http://archive.org/details/prospectusofont4849onta 



N I A n COLLEGE OF ART 

GRANGE PARK TORONTO 

COUNCIL 

H. L. Rous, ('h(iirrti((fi 

J. U. Laxgley, m.r.a.i.c, V ice-Chairman H. J. Faiuhead, Honorary-Treasurer 

Fred. S. Haixes, h.c.a., o.s.a., Secretary 

o 

J. B. Laxgley, m.r.a.i.c. Mrs. de Bruno Austix A. J. Cassox, r.c.a., o.s.a. 

Peter Brieger, ph.d. Marttx Baldwin, b.sc. Allax G. Burtox 

Fred. H. Brigdex, r.c.a., o.s.a. 

H. J. Fairhead Alax Y. Eaton Fred S. Aiger 

E. A. Hardy, o.b.e., d.paed. ('has. Goldhamer, o.s.a. 

F. H. MaRAXI, O.B.E., F.R.A.I.C., A. R.C.A. H. S. PaLMER, R.C.A., O.S.A. 

H. L. Roirs F. S. Rutherford, b.sc. 

J. Ardagh Scythes 

J. I. SiMPsox J. F, M. Steavart, b.a. F. G. Rolph 

Johx Westrex Melville White Mrs. O. D. Vai ghax 

o 

ADMINISTRATIVE STAFF 

Fred. S. Haixes, r.c.a., o.s.a Principal 

Roberta Murby Registrar 

Fredd.v Kelly Secretary to the Principal 

Amy Despard Librarian 

W. M. Mounfield Husiness Administrator 

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ONTARIO COLLEGE OF ART 



FOREWORD 

HISTORY — The Ontario College of ^irt was founded by the newly incorporated 
Ontario Society of Art ids in 1S76. Under divers administrations it was succes- 
sively known as the Ontario ScJiool of Art, the Toronto School of Art and the 
Central School of Fine and Industrial ^irt, until a provincial Charter was 
granted to it in 1912 as the Ontario College of .irt. The College also occupied 
various premises u)itil 1921, when the government erected the present building, 
adjacetd to the Art Gallery of Toronto in Grange Park. This was fairly adequate 
for tJie work of the College until the immense post-war e.rpansion of all educa- 
tional activities in 1945. With the stimulus of an enlarged government grant, the 
curriculum was expatuled to include subjects relating to contonporary develop- 
meuf in all fields of art. Since that time increased classes have forced the College 
progressively to seek more teaching space. The William Houston School, 21 
Xassau Street, was acquired first to house the Design School, and the following 
year, space in the Ryerson School was obtained for classes in lithography and 
mural painting. It is hoped that when costs become more reasonable, the College 
will enlarge its building at Grange Park to house all its activity under one roof. 

AIMS and OBJECTS — Our object is to produce artists, designers and crafts- 
men, fully equipped after a four year diploma course, to enter any of the Fine, 
Graphic, Commercial or Industrial Arts. We feel it is impossible to design 



specific ariicU's irit/toiit IcnouiiKj lioir these articles (ire constructed, irithoid 
kuoirituj the potentialities of each material, and without stiidijing the suitability 
of each for its function. For this reason ire hare inaugurated a department of 
three-dimensional design, and opened irorkshops in Woodworking, Pottery, 
Textiles, Metal ]\\)rk and Leathercraft. Today it is increasingly important that 
designers know not only how objects are created by hand, but also hoir they are 
produced in quantity by the machine. With this end in view, our classes visit 
industrial plants and execute assignments under factory conditions. It is 
interesting to note that as a result of these contacts, Canadian manufacturers 
are increasingly supporting the College with scholarships for our students and 
employment for graduates. 

The long-term aim of any college is, of course, the creation and nurture of a 
distinctive national expression which will rank in excellence with all contemporary 
effort in its field. To do this, the College first stresses the study of historic styles for 
background, then research in the Canadian scene. In addition, class trips are 
organized to nearby centres in Canada and the United States where students may 
observe recent artistic developments on a more international scale. 

Fred. S. Haines. 



DESIGN SCHOOL, NASSAU STREET 





OUTLINE OF C00R8E8 

First Year Basic page 8 

Drawing and Painting " 10 

Commercial Art . " 1'2 

Design " 14 

Interior Architecture " 16 

Sculpture " 18 

Etching, Dry points, Aquatints " 20 

Students' Work " '■21-^28 

Ceramics " ^29 

Design in Wood . . . , " 30 

Textiles " 31 

Metalwork and Jewellery Design " 3'2 

Research Studies " 33 

General Information " 34 

Calendar — Terms of Admission " 37 

Fees "38 

Teaching Staff . "39 

Awards and Scholarships " 43 




,// 



Basic Year modelling class. 



eASIC HAINING 

directed by Sydney H. Watson, O.S.A. 



This introductory course provides intensive training in drawing and the 
fundamentals of art appreciation and practice and acquaints the student 
with the high standards of the professional fields of artistic endeavour 
by which he can assess his ability to proceed into a specialized field. 

Each subject is developed through progressive exercises from the ele- 
mentary to the more advanced conception thus providing a sound training 
in observation, historical background, research from his own environment, 
compositional analysis and synthesis and a knowledge of form; all basic 
requirements for his acceptance into a specialist course. 

ARCHITECTURAL DRAWING. The handling and care of instruments; free- 
hand and mechanical perspective drawing applied to basic architectural 
forms of our environment and the study of shades, shadows and reflections. 

COLOUR. Exploration of the expressive and representational aspects of 
colour through a study of light and colour intensity, area shape, placement 
and perspective and a survey of colour systems. 

COMPOSITION. A study of spatial relationships, pattern, planes, move- 
ment, contrast, texture and rhythm, devoting the last third of the term to 
three-dimensional composition. 



DESIGN. Investigation of the power of the sini})le line and form relation- 
ship of line and areas in the division of two and three-dimensional space; 
the system of repeat pattern and applied design to all indnstries. 

DRAWING. Commencing with the three-dimensional forms, the cube, 
sphere, cone, cylinder and pyramid studies are made in pure line, expressive 
line and value, at first separately and later in combination, progressing 
gradually from the simpler objects of everyday life, into the study of mass 
in the costumed figure in the later stages. 

LETTERING. To arouse an appreciation of lettering as a creative work while 
building an intelligible basis for future exploration into the many lettering 
forms. 

LIFE. Analysis of the human figure stressing rhythm, action proportion and 
the development of form, concluding with the elements of anatomy. 

MODELLING. To develop an appreciation and understanding of three- 
dimensional form. 

RESEARCH I. To develop a method of doing analytical research on the 
historic works of man and thus build up a keen interest in relating tra- 
ditional ornament, decorative design and pattern to the society W'hich 
developed it, using the material thus acquired as the basis for composi- 
tional projects. 

RESEARCH II. To learnto gather documentary material on the contemporary 
environment and materials for a specific purpose, and to develop self-reliance 
and a sense of responsibility by working on-the-spot, in public, under less 
favourable conditions to those found in the studio. 



After he has completed his Basic 
Training, this student will select 
one of the nine Courses des- 
cribed in the following pages. 





Painting from life. 



DRAWING AND PAINTING 

direcfed by George Pepper, A.R.C.A., O.S.A. 

The drawing and painting course is designed to develop artists of sound 
ability and of high aesthetic standards. The essential requirements for 
success in the course are natural ability, self-discipline and diligence. The 
student is led through a series of steps, from simple problems to those of 
greater complexity, as knowledge and skill increase, which culminate in 
the painting of the figure. 

DRAWING. Emphasis is placed on drawing, especially from the life model 
and the costumed figure. Direct drawings with the pen are made to develop a 
sensitive, expressive line. Tone drawing is studied as an approach to painting. 

STILL- LIFE. Beginning with the second year, still-life groups are painted 
in both oils and water-colour, for the study of colour, tone and texture. 

COSTUME. The costumed figure is painted by third and fourth year students. 

PORTRAIT. Third and fourth year students ])aint portraits of models 
selected for their diversity of types. 

LIFE PAINTING. Hcglnning in the third year, students ])aint from the 
life model. Tlie aim is to achieve com])lete realisation of form through 
line, tone and colour. 



COMPOSITION. The art of organizing imaginatively tlie pictorial 
elements in a pictnre is stressed thronghout the course. Students of all 
years are required to submit for criticism a composition every week. In 
this work they will apply the princi})les learned through the study of the 
finest compositions of the great schools of painting. 

MURAL PAINTING. In line with the growing public interest in Mural 
painting, instruction is provided for qualified students in the historical 
background of the subject, the theory of traditional methods and their 
practical application under modern conditions. 

MUSEUM STUDY. An appreciation of good form and style is cultivated 
through the study of outstanding examples of the art of past civilizations. 

TECHNIQUES AND MATERIALS. Sound technical knowledge is essential 
for the artist in order that his picture may have lasting w-orth. The student 
is given, through lectures and practical exercises, a thorough understanding 
of the materials he uses, pigments, oils, resins, emulsions, etc. He is taught 
how to prepare his own grounds for painting, and how to carry his work 
through to completion in oil, egg tempera, or 'mixed technique'. 

OPTIONAL SUBJECTS. Students are required to study either modelling 
or etching as an adjunct to their course. A course in Lithography is also 
provided. 

OUTDOOR CLASSES. When weather permits, certain classes in drawling 
and painting are held out of doors. On a few occasions during the school 
year, classes go into the country for the painting of landscape subjects. 

Composition Class. 



11 






COMMERCIAL ART 

directed by Fred Finley, O.S.A. 

'VUv variety and inlonsily of trainin<»' in lliis course is designed lo fil I he 
<>radiiating student for an inimediatc place in tlic field of Commercial Art. 
Instruction not only includes the necessary art training and a study of repro- 
duction methods, but also a comprehensive survey of Advertising as a wli(>lc. 
This preparation has the advantage of making less obstrusive the distinc- 
tion between learning and doing, between the problem of completing a 
class assignment and that of producing a piece of work acceptable to the 
Art Buyer. 

FIGURE DRAWING. Drawing from life in line, tone and colour. Lectures 
and demonstrations to illustrate the influence of anatomy on exterior forms. 



12 



LETTERING AND TYPOGRAPHY. The basic letter forms and the alphabets 
derived from them. The understanding and use of modern type faces. 

ADVERTISING LAYOUT. Included in this subject are: 

a. A survey of Advertising, its purpose, its importance. 

b. The merchandising problem. Customer research. 

c. The preparation of advertising layouts. Sales ideas and techniques. 



Conditions approximate those of the Commercial Studio. 




^ 



Kit*' 
Tl 



Students see practical demon- 
strations of all processes of 
pho/o-engrov/ng. 




d. Direct Mail Advertising. Booklets, folders, Campaign planning. 

e. The processes of reproduction. This studj^ is furthered by tours of 
Photo-engraving plants. 

ILLUSTRATION. Elements of structure, action, movement, expression. The 
study of folds and textures. Principles of composition. Techniques and 
work in the following mediums: pen, dry brush, scratch-board, coquil- 
board, pencil, crayon, wash, watercolour, gouache and coloured inks. 

ADVERTISING DESIGN. Application of the principles of design to problems 
of modern packaging and display. Instruction in methods employed in 
preparing the designs for reproduction. 

COLOUR THEORY AND PRACTICE. Problems based on the Munsell Sys- 
tem give the student the colour background necessary for his subsequent 
work in design and illustration. 

MECHANICAL DRAWING. Setting up buildings, furniture and other ob- 
jects in perspective and rendering them for reproduction in various mediums. 

RETOUCHING. Practical retouching projects are handled by students in 
current techniques. Modern equipment and air brushes are provided. 

MUSEUM RESEARCH. The study of Costume against the background of 
Man's social history. Research designed to stimulate the creative processes 
of the student. 

WORKSHOP PRACTICE. The production of working drawings under work- 
shop conditions. In this period the student carries to conclusion, projects 
planned in the layout and lettering periods. 



13 



14 




Design class. 



DESIGN 

directed by John Martin 



This course pertains to no particular field of applied design, but, through 
the application of the fundanuMital })rinciples of j)roj)ortion, rhythm and 
balance, covers practically all known usages. The graduate from this 
course will enter the field of design with a sound knowledge of what design 
is, and of how to apply it in industry. 

GENERAL APPRECIATION OF DESIGN. From his preliminary work in the 
basic year the second year student is directed towards a general appreciation 
of design and its industrial application. 

FIELDS OF DESIGN. The fields of design for printing, weaving, arcliitcc- 
ture, book design, jewellery and metal -work arc given prinuiry exploration. 

LETTERING. Study is supported by instruction in traditional letter forms 
such as Ronuin and the Gothics. 



COLOUR THEORY AND PRACTICE based on the Munsell System to give 
the student the necessary background for his subsequent work. 

COSTUME is dealt with in museum research and in the study of con- 
temporary materials. 

LIFE DRAWING. The study of the structure proportions and forms of 
the human figure. 

DRAWING AND PAINTING are included in the third year during which the 
student will study the media in which the design will actually be produced. 

PRACTICAL WORK. Some practical work will be done in the preparation 
of printed fabric, pottery decoration, wall paper, etc. Work will also be 
done in theatre decoration, costume and fresco in miniature. 



THREE-DIMENSIONAL DESIGN will be explored. Only students of the 
highest standing will be passed into the fourth and final year. 



15 



TECHNOLOGICAL DEVELOPMENT. From this time on, the student will 
devote himself to technological and aesthetic development. He will give 
the final polish to his techniques in design, colour, and application. 

Thus prepared, the student may enter the industrial field fully confident 
of himself as a designer. 




Design applied to various 
class projects. 



I 

i 



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Design for a modern inferior. 



16 



INTERIOR ARCHIHCIURE 

directed by Gusfav Hahn, R.C.A., O.S.A. 

Tlio purpose of this intensive course is to provide a tliorougii trainin^^ in 
the fundamentals of architectural design for the student who shows a 
natural capacity for creative work and a susceptibility to new ideas, as a 
basis for the creative study of the complete contemporary interior, both 
domestic and industrial. 

The students' prime consideration is to learn how to co-ordinate his think- 
ing, his work, and his time in order to develop the facility to collaborate 
with architects, clients, technicians and workmen. 

All aspects of his work from the initial steps of research and visualization, 
right through the progressive stages of theme development, rendering and 
detailing uj) to the final presentation with specifications, working drawings, 
blueprints and models, are presented in a numner that stimulates initiative 
and a deep sense of personal responsibility. 

ARCHITECTURAL CONSTRUCTION. Basic terminology; elementary archi- 
tectural drawing; measured drawings to scale; full sized working drawings; 
mouldings; ornament and materials. 

FURNITURE DESIGN AND CONSTRUCTION. Workshop projects; working 
drawings; anatomy related to furniture construction. 

HISTORICAL RESEARCH. To develop a discreet appreciation of tra- 
ditional work through lectures, prescribed reading, essays, measured draw- 
ings from Museums, interior renderings and first-hand contacts with fine 
architectural examples and documents. 



PROFESSIONAL STANDARDS. Practical survey of related trades to observe 
inanufacturin<i' limitations, and business procedure; a study of client 
relations. 

CONTEMPORARY INTERIOR DESIGN. On-the-spot research trips, lectures 
by professional experts in lighting, textiles, furniture, upholstery, glass, 
wallpaper and plaster; detailed interior designs based on plans and ele- 
vations to develop a knowledge of space composition; essentials of mer- 
chandise display. 

THREE DIMENSIONAL DESIGN. Architectural reahzation of space com- 
position. 

FLAT DESIGN. To study the qualities of motion, time and emotions in the 
division of two-dimensional space related to textiles, rugs, wallpaper, 
tiles, leather and linoleum, and its application to furniture and upholstery. 

COLOUR. First year theory in separate class; second and third years 
colour psychology in lecture form with application in interior designs. 

LIFE DRAWING. Stressing proportion, anatomy and the figure in design, 
two years only. 

FREE RENDERING. In ink, gouache and watercolour, '^nd and 8rd years. 

PERSPECTIVE. Applied to interior and furniture renderings. 



11 



Interior architecture class. 




Sculpture sfudio. 



18 



SCULPTURE 

directed by Emanuel Hahn, R.C.A., S.S.C. 

The object of this course is first, to lead the student to professional standin^j 
in the fine arts and the application of sculptured form to the needs of industry ; 
second, to develop a knowledge of form fundamental to the arts in general 
and the crafts. 

In order to accomplish these aims, the student is directed to an understand- 
ing of the problems, principles and materials of sculpture. He will be 
taught the structure of living things and the techniques of sculpture in the 
round and in relief. While the training he receives will prepare him for a 
career in Fine iVrt, he will not neglect the possibilities of the industrial field. 

ARMATURES. The methods and materials of armature building. 

MATERIALS. A thorough exploration of the properties and possibilities of 
the sculptor's materials both traditional and modern. 



MODELLING FROM LIFE. After the basic first year training in three 
dimensional form, the student begins to model the figure in clay from the 
life model. 



ANATOMY. The series of Lectures in Anatomy is compulsory for all 
students of sculpture. 

STRUCTURE. Coincident with the Anatomy instruction is the study of the 
human structure in relation to outward form and movement. 



MOULDING AND CASTING, (a) Plaster waste moulds (b) Moulding for 
multiple reproduction in plaster, gelatine, latex (rubber) etc. (c) The Lost 
wax process (d) Papier Mache (e) Sand moulding and metal casting. 

INDUSTRIAL AND DISPLAY. In order to meet the growing demands of industry 
for sculptured models, the course provides specialized training in industrial 
and display techniques. Problems are set, along with assignments for making 
models to serve specific practical purposes. Mechanical facilities are provided 
for carrying out these experimental projects in their final materials. 

ADVANCED STUDENTS. In order to develop and encourage creative 
talent, third and fourth year students are allowed greater freedom of ex- 
pression and choice of subject matter and material for their assignments. 
Time allowances and manner of instruction and criticism are adapted to 
individual needs as they arise. 



19 






Industrial sculpture and 
architectural ornament. 





The etching studio. 



20 



EICHING, DRYPOINI, AQUAIINI 

directed by Nicholas Hornyansky, A.R.C.A., O.S.A. 

This course embodies all the techniques of intaglio plate making. Advanced 
students exhibit with the senior printmaker society of Canada and take part 
in its coast-to-coast travelling exhibitions. A recently organized collection 
of prints produced in this course is now touring a number of Provincial 
Libraries. 

PREPARATION OF GRAPHIC MATERIAL in the tradition of the medium 
to be employed. 

GROUNDING THE PLATE. Experiments in the use of the various grounds, 
wax grounds, resin dusted grounds for aquatints, etc. 

BITING THE PLATE. Research into the properties of mordants used. 

THE PROCESSES. Etching, i:)rypoint, Softground, Aquatint, Colour Acjua- 
tint, Gravure, Engraving. 

TECHNICAL ACCESSORIES. Students are taught to make various techni- 
cal accessories such as Etching and soft grounds, Varnished, hand-made 
blacks, adaptable hand wipe tonal inks and multicolour printing inks. 

As print and ])latc making stands midway between pictorial fine art and 
the crafts, the newly introduced Duplicraft metliod allows the imprinting 
of specially etched plates onto leather, felt, textiles, and plastics, the 
iransprint of relief etching decoration on metal and the transfer of etched 
adornments onto ceramics. 



BASIC YEAR 



N THE FIRST YEAR 



)(/F HAv-. SOMMHINC 

iOW LETTERS PROPERLY SPACED 
\m DRAWaCREATE NOT ONLY EASY 
tEADINC BUT ALSO ARRANGEMENTS 
WHICH ARE DELIGHTFUL TO BEHOLD: 
\ COMPLETE ENTITY IN ITSELF. THE 



ROMAN 
CI M C U\ L 

STYMIE 

HAVE LETTERED THIS PROBLEM IN 

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DESIGN 



KP P-\r-S R 







NIERIOR ARCHIHCIURE 








SCULPIURE 




DRAWING AND PAINIING 




COMMERCIAL ART 




DESIGN 




IGN 

ETE REPEAT 
7 COLOURS 



H^rf^S 



DESIGNS 

IN COMPLETE REPEAT - 
BASIS 7x9 IN 7 COLOURS 









TEXTILES, DESIGN IN WOOD 







CERAMICS, MEIALWORK, JEWELLERY AND 
LEAIHERWORK 





Sfacking the Kiln. 



CERAMICS 

directed by John McLellan 



Throughout the ages Ceramic Art has l)een an important part of everyday 
living. The object of this course is to train the student in the craftsmanship of 
this ancient art and to give him an outlet for his creative spirit in the produc- 
tion of articles of usefulness and beaut v. 



29 



Instruction in the Ceramics course includes: 

DRAWING, THEORY OF COLOUR. For the understanding of form, colour 
and texture as related to ceramics. 

DESIGN AND FUNCTION. Investigation of the function. Developing t he 
design out of the function. 

HISTORY OF CERAMICS. Museum Study. 

THE PREPARATION OF CLAY. Coiling and hand building, tooling and 
throwing on the potter's wlieel. 

TECHNICAL RESEARCH of clays and glazes, since understanding of the 
nature and potentialities of various ceramic materials is essential. 



THE KILN. Stacking and firing. 



30 



DESIGN IN WOOD 

directed by Gordon Yearsley 

'V\\v <>ra(lual(> will he (lualificd to (MiIci" I lie f'lirnil lire induslrv as a dcsi^iicr. 
He will 1)0 conipclciit to (lesion furniture or huilt-iu ('((uipincnt for houics, 
factories and i)ul)lic l)uil(lin<>s. lie will understand materials, teehnieal 
problems, and [)r()ducti()n methods. He will be able to make pers})eetive 
drawings in colour for his client, mechanical drawings for the craftsman, 
and to estimate costs. 

BASIC FURNITURE STRUCTURE, (a) Cabinet (b) Chair Making. 

TRADITIONAL FURNITURE. History and Design. 

FURNITURE DESIGN FOR CUSTOM TRADE. Comparison of hand methods 
and production technique in relation to cost. 

FURNITURE DESIGN FOR MASS PRODUCTION. Study of production 
methods and shop practice. 

MODERN METHODS AND MATERIALS. Moulded plywood and plastics. 
Contemporary design and built-in furniture. 

UPHOLSTERY FRAMING AND UPHOLSTERY— FINISHING, COLOURING 
AND SURFACING. In addition to the practical training, the student will 
receive instruction in life drawing, mechanical drawing, perspective, colour, 
three-dimensional design and a study of fabrics. 

AYorkshop facilities include the most modern woodworking equipment. 




The workshop is equipped 
with the finest of modern 
power machines. 




There is a loom for every sfudeni. 



TEXTILES 

directed by Wanda Nelles. 

In the Textile Course theory and practice are combined to prepare the 
student to contribute to the industrial' and commercial field as well as to 
create individual objects of utility and beauty. 

Instruction is given in the following subjects in the order shown: 

INTRODUCTION TO WEAVING. The study of equipment and counter- 
balanced looms. Yarn construction, textures, natural and synthetic yarns 
and warping. 

PREPARATION OF LOOM. Basic weaves, Project in cotton, covering simple 
method of design. Project of woven colour, spectrum. Project in wool of 
designed stripe and plaid, including cord weaves and tapestry technique. 
Tweed project using twills and derivatives. 

RELATIONSHIP TO INDUSTRY. Research in Mills. Linen project covering 
ornamental techniques. Cotton project with alternately coloured warp 
yarns for double width, circular derivatives and all possible variations. 
Linen weaves. Cotton pattern weaving, weft design. Rug samples all pile, 
semi-pile and flat surface designs. Tweed yardage in composition of colours. 

ADVANCED TEXTILE DESIGN. Sectional warpings, fly shuttles, damask 
weaves, printed warps, drapery fabrics, upholsteries. 



31 



32 



MEIALWORK AND JEWELLERY DESIGN 

direcfed by Harold G. Stacey 

Tlio ])iirp()So of I Ills course is to (Icvclop dcsionors and (TaftsnuMi in the 
separate fields of j^eneral deeorative metal-work and of jewellery or in a 
(•()nil)inati()n of both. The graduate will thorou<>hly understand the tech- 
niques of nietal-workin*;' and an api)reciation of good design and fine 
workniansjiip. 

HISTORICAL RESEARCH. The tradition and development of the craft. 

MODELLING. Mechanical and freehand drawing. Appreciation of 
the ])roblems of form. 

THREE-DIMENSIONAL DESIGN. The construction of models. 

MATERIALS. Investigation of the properties of the various metals and 
their alloys. 

EQUIPMENT. The use and care of hand and power tools. 

METHODS. Shaping, forming and cutting metals including elementary 
presswork and casting. 

DECORATIVE TREATMENTS. Etching, chassing, repousse, enamelling, plat- 
ing and colouring. 

STONE CUTTING AND POLISHING. 



Theory and Practice, design and execution go hand in hand. 



\ 



wm 




MUSEUM RESEARCH STUDIES 

directed by Miss Ruth Home, M.A. 

A course of lectures designed to provide a classical background to the various 
art courses offered by the College to direct research into the traditional works 
of man and to stimulate the creative processes of the student. 

In the basic year the lectures are of a general nature to serve as a basis for 
future specialization. In the later years lectures and research are directed 
towards the specialist fields. Research studies throughout the entire course 
consist of a one hour lecture a week followed by research under the combined 
supervision of the lecturer and the Department in which the student is 
specializing. 

The material covered in the lectures is as follows: 

Cultures of the Mediterranean, Egypt, Mesopotamia, Greece and Rome. 
Reference will be made to repeat patterns, architecture, sculpture, pottery, 
textiles and furniture. 

Material Cultures of Byzantium, the Near East and Europe from tlie 5tli 
Century, A.D. until 1500 A.D. 

Material cultures of Europe and the Western Hemisphere from 1500 until 
modern times. 



33 



The primitive peoples of the world. The cultures of India, China and Japan. 



GENERAL INFORMATION 



34 



Tlic Ontario Collcgo of Art (formerly The Central Ontario School of Art 
and Desioii, which was fonnded in 187()) was incorporated by Act of the 
Provincial Parliament in IDl'-i. 

The «>'overnment of the College is entrnsted to a Council; the majority is 
ai)pointed by the Lieutenant-Governor-in-Council, and the rest by various 
Provincial organizations interested in Art. 

THE CLASSES. Day classes for the general session are open to men and 
women students. Intending students are requested to give particulars of 
age, education and previous training in art. They must present satisfactory 
evidence of their interest and ability. It cannot be too highly stressed 
that students must have an absorbing interest in art and a capacity for 
hard work. 

SPECIAL CLASSES. EVENING CLASSES in portrait painting are conduc- 
ted on Monday, ^yednesday and Friday evenings, 7.30 to 9.30 by F. S. 
Challener, R.C.A., O.S.A. 

PORTRAIT PAINTING: A portrait painting class for professional artists is 
held on Saturday afternoons under Archibald Barnes, R.C.A., O.S.A. 

SCULPTURE: Evening classes in sculpture are conducted on Tuesday and 
Thursday evenings, 7.30 to 9.30 by Emanuel Ilalin, R.C.A., S.S.C. 

BOOKBINDING: Instruction in bookbinding in its various forms and 
materials is given by Miss Amy Despard. 

LEATHERWORK: Instruction in tooling, modelling and numipulation of all 
types of leather, pattern making, and projects involving a combination 
of leather with metal or wood are given|to special groups by Miss Frances Neil. 
Further information concerning the above s|)ecial classes may be obtained 
by application to the Registrar. 

POST-GRADUATE COURSE. l\)st-(iraduate courses are free to graduates 
of the College. The course nuist be taken in the year immediately following 



the student's graduation year. The graduate, subject to the approval of 
the Principal, will decide upon the programme of work to be pursued. This 
period of study is considered by the College to be mainly one of practical 
effort on the part of the graduate about to enter professional life. The 
necessity to further develop technical ability is stressed upon the graduate 
and his work is arranged with that point in view. 

LECTURES. Through the College year lectures are given on the following 
subjects: The Technique and Materials of Painting, Artistic Anatomy, 
Architecture, Design, and Advertising. 

THE ROYAL ONTARIO MUSEUM. Lectures and Research Studies under 
the direction of Miss Ruth Home, M.A., assisted by Mrs. Dorothy Hoover, 
B.A., take place at the Royal Ontario Museum, one of the world's greatest 
museums. There the student is extended the privilege of intimate study 
where he may come in fruitful contact with the great art of the past. The 
famous Chinese Collection is a storehouse to thrill the student, and the 
varied collections of art objects and specimens of natural history make 
the museum one of the most prized fields of art study. 

THE ART GALLERY OF TORONTO, next door to the College, has a fine 
permanent collection of Art which, together with the many periodical 
exhibitions of painting and sculpture, offers the student an unrivalled 
opportunity to study the works of the masters as well as those of the great 
contemporaries. 

THE COLLEGE LIBRARY contains a valuable collection of Art books and 
periodicals available for study and reference. The College welcomes con- 
tributions to its Library, such as that of Scythes and Company Limited, 
for the purchase of reference books on Art subjects. 

AWARDS. The College awards Diplomas of Associates of the College, 
Scholarships and Prizes arranged for and posted in the College for com- 
petition, and Certificates. These are regulated as follows: 

The Governor-General's Medal is awarded each year for general proficiency 
in advanced work, or in one particular subject. 



35 



The Lic'uteiiant-CioN'criior's Medal is awarded cacli year for Proficiciicv in 
any Depart monl. 

Ontario College of Arl Medal: is awarded each year to students of out- 
standing merit. 

SCHOLARSHIPS: for free tuition in the College are awarded to students in 
First, Second and Third Years. 

DIPLOMAS OF ASSOCIATESHIP OF THE COLLEGE: authorizing the use 
of the letters A.O.C.A. after the names of the holders, are awarded upon 
completion of a four year course, covering one or more of the ten Depart- 
ments of the College, provided the student has fulfilled all conditions of 
the course, and that a satisfactory standard of quality has been achieved. 
All awards are made by judgment of the Staflf sitting as a Board, and all 
such awards are made upon the basis of work done by the student during 
the year, and results gained in examinations, both practical and written. 



36 STUDENT ACTIVITIES 



THE ONTARIO COLLEGE OF ART STUDENTS' CLUB: This is a student 
organization for the development of the student social life within the College. 
It undertakes the supervision and upkeep of the Student's Common Room 
and arranges all social aflfairs, dances, student exhibitions, theatrical enter- 
tainments and dinners. A notable and artistic annual event is the College 
Mas(iuerade Hall conceived and designed in its entirety by the student 
body. 'IMie ball-room is decorated and costumes designed in the styles of a 
chosen period; the work being done as a class problem in design and colour, 
nuiral decoration and applied art. 

TOURING EXHIBITION: A recently organized exhibition of prints produced 
by the students of the Etching course under Mr. Hornyansky is now 
touring on a Provincial Library chain, built up and managed by the students. 

CAFETERIA AND COMMON ROOM: A cafeteria is operated at Grange Park 
where students may obtain lunch and refreshments at moderate prices. The 
cafeteria is open every school day. It is in close connection with the 
Students' Common Room which is under the management of the Students' 
Club and has been furnished and maintained bv them. 



CALENDAR FOR YEAR 1948-1349 

DAY (OURSES "ONTARIO ( OLT.EGK OF AR'P 

/''//%s7 Term begins September ^27tli, 1948 

Closes January 31st, 1949 
Second Term begins February 1st, 1949 
(loses May ^27th, 1949 

Registration Week — September 20th to 24th inchisive. 

HOLIDAYS 

Thanksgiving — From Friday before Thanksgiving until the following 
Tuesday. 

Christmas — From December 23rd, 1948 until January 3rd, 1949. 

Easter — From Thursdav before Good Fridav until the following Tuesdav 



TERMS OF ADMISSION 



31 



RULES AND REGULATIONS 

1. Students are admitted on an implicit 
understanding that they will be of good 
behaviour, will work as directed, be regular 
and punctual in attendance, observe all 
regulations, posted or announced, and pre- 
sent themselves for examinations relating to 
their courses. 

2. The Principal may suspend any student 
whose conduct or influence appears to be 
injurious to the discipline and interest of 
the College. 

.S. In the case of absence, from sickness or 
other cause, beyond three days, a communi- 
cation must be sent to the Principal. 

4. The student who has the highest per- 
centage of attendance in the classes of the 
division for which scholarships are offered, 



will have preference when two or more are 
equal in examinations. 

5. Students are not allowed in the College 
at other than working hours without i)er- 
mission from the Principal. 

6. Only students of the College may enter 
class rooms during working hours, and only 
during recess may students visit class rooms 
other than those where they are working. 

7. No student may alter the prescribed 
course or attend classes of other years with- 
out the sanction of the Principal. 

8. Smoking is not permitted anywhere in 
the College din-ing class hours, but is allowed 
at certain times and places in accordance 
with posted regulations, subject to change 
or cancellation at anv time. 



38 



J). I^'jicilitics ;ire iiccordcd I lie studont lor 
reasonable aimiseriieiif and recreation, luw 
this purpose, eoinniittees of the Students" 
Club are f>;iven authority to act under the 
general direction of the Principal. 

]{). Students desiriufj: to brin<j j^uests to the 
(linijifi; room, or For any otiier purpo.se must 
obtain permission from the Principal. 

1 1 . No work will be exhibited at the monthly 
or annual exhibition which has not been done 
by a student at the College during the year. 

12. The Principal and staff reserve the right 
to retain permanently for the College, prize 
drawings and other works suitable for record, 
example and exhibition. 

18. Fees are payable in advance when the 
student registers and are not returnable. 

14. Fees paid by students whose further 
attendance is prohibited for violation of regu- 
lations are forfeited, and scholarships may 
be cancelled without notice, for non-atten- 
dance or misconduct. 

15. Students must obtain a 90% attendance 
record and fulfil all financial obligations. 

16. Students must turn in 90% of the work 
assigned during the school year. 

17. Former students or persons not regis- 
tered in the College must not make use of 
the College premises without permission of 
the Principal. 

18. Any student failing to hand in three 
projects in any subjects will automatically 
forfeit his registration. 

19. Students injuring the property of the 
College will be held responsible. 

20. Students defacing or losing books bor- 
rowed from the College Library must pay 
for the cost of the books so defaced or lost. 



'21. The Council of flic College cannot be 
held responsible for the custody of the i)ri- 
\ ate i)roi)erty of students, nor can any claim 
be entertained in resi)ect of any article left 
in the College. 

22. Day classes Iciininalc at ^..'>0 p.m. and 
evening classes at 10 p.m. Special e\ening 
classes close at 9. .'50 p.m. Students must 
leave the College promptly after classes. 

Day Classes in the College year are divided 
into two terms and all fees are payable 
strictly in advance. Students are expected 
to give careful consideration to their deci- 
sions on entering the College, as fees once 
paid are not returnable. 

DAY COURSES 

{Including Fees for Student's Club Membership) 

For all classes and general 

privileges for one year .... $1.50.00 

For all classes and general 
privileges for one term $ 7.5.00 

For six half days per week — 

one term $ 40 . 00 

NO STUDENT is admitted to classes until 
registration is completed by the payment 
of fees. 

SUPPLIES used during the course may be 
purchased as required at the College store: 
these are sold at cost and during the year 
would amount to about seventy dollars. 
A fee will be charged in advance for class 
supplies for students of crafts and modelling. 

LOCKERS. Lockers for supplies may be 
secured by students on payment of fifty 
cents per year rental. Lockers will be 
shared by two students. The key must be 
left at the office at the end of the .session; 
twenty-five cents will then be returned 
The College is not responsible for property 
in these lockers and all lockers must be 
cIc.ircMl within inw week after the closing. 



STAFF 



PRINCIPAL: FRED S. HAINES, R.C.A., 
O.S.A. Studied at the Central 
Ontario School of Art and Indus- 
trial Design, and I/Academie 
Royale des Beaux Arts d'Anvers, 
Belgium, under de Vriendt and 
Siebert. Past President of the 
Royal Canadian Academy of Arts 
and Past President of the Ontario So- 
ciety of Artists. Honorary Member 
of the Society of Hungarian Painter- 
Etchers, member of Chicago Society 
of Etchers, member of the Painter- 
Gravers of London, England. Repre- 
sented in the National Gallery of 
Canada, Ottawa, the Art Gallery 
of Toronto, Hart House, public col- 
lections at Sarnia and Saskatoon. 

JOHN M. ALFSEN, A.R.C.A., O.S.A. 
Studied at the Ontario College of 
Art, Toronto, L'Academie Royale 
des Beaux Arts d'Anvers, Belgium, 
and the iVrt Students' League under 
Henry Hayes Miller, New York. 
Is represented in the National Gal- 
lery of Canada, Ottawa, and the 
Art Students' League Gallery, 
New York. 

ARCHIBALD BARNES, R.C.A., O.S.A. 

Studied at St. John Wood and 
Royal Academy Schools, London, 
England. Represented at Hull, 
Huddersfield, Oldham, Manchester, 
Vancouver and Toronto. 

FREDERICK S. CHALLENER, R.C.A., 
O.S.A. Studied at the Central 
Ontario School of Art and Indus- 



trial Design. Represented in the 
National Gallery of Canada, 
Ottawa. Canadian War Memorials 
and Mural Decorations in Montreal, 
Ottawa, Toronto, Hamilton, Winni- 
peg and Edmonton. Medals at Pan 
American Exposition, Buffalo and 
Louisiana Purchase Exposition. 

E. GRACE COOMBS, O.S.A. Gra- 
duate of the Ontario College of Art. 
Studied at the New York School 
of Fine and Applied Arts. Repre- 
sented in Hart House. 

BERNARD DEMBNER. Studied Art In- 
stitute of Chicago. Eight years Art 
Director in Chicago. Two years 
Catalogue Production Manager. 
Thirty-one Years Art Director, 
Photo-Engravers Limited, Toronto. 
Charter member Art Director's 
Club, Toronto. 

AMY DESPARD. Graduate of the 
Ontario College of Art. Graduate of 
course in Occupational Therapy at 
the LTniversity of Toronto (book- 
binding). Studied at the School of 
Fine and Applied Art, New York 
and in Europe. 

FRED FINLEY, O.S.A. Studied in 
Australia under Julian Ashton, in 
Paris under Paul Albert Laurens 
and Henri Deschenaud, and in 
Munich under Ludwig Angerer. 
Represented in the National Gallery 
of Canada, Ottawa, and in the 
National Gallery of New South 
Wales, Australia. 



39 



40 



GEORGE FOORD. Studied at 
l^'i^lilon School of Arl (Scliolarsliij) 
winiKM') and at Kaliii<i- A?'t School, 
Kn^-. During- War handled art and 
production for various Canadian 
Army publications. Tntil recently 
Art Kditor of Canadian Ma<ia- 
/in(^ Diii'est. 

DON ERASER. Studied at the 
Ontario College of Art. Won 
Ciovernor-CJenerars (Jold Medal on 
graduation. Has instructed in life 
drawing at Northern Vocational 
School. 

FRED HAGAN, C.P.E. Studied at 
the Ontario College of Art, Art 
Students' League, New York; 
Lithography under George Miller, 
New York. Formerly Resident 
Artist at Pickering College. Mem- 
ber of Society of Graphic Art. 



iiical School. I^xccutcd Interior 
Decoration and Murals in 'I'he 
Pro\incial Lcgislati\c Chamber, 
Toronto, in ('ouiicil ("hanibcr, 'i'or- 
onlo City Hall. 

RUTH M. HOME, M.A. 19-2^2 B.A. 
Modern History, Cnixersity of 
Tonmto 1^24 ^LA. in Political 
Science. 1})'2S Lecturer, Royal On- 
tario Museum. 1J).S4 Carnegie 
Fellowship to study Ceramics in 
England, 1J)'35 Fellowship in Far 
Eastern Art and History, Columl)ia 
University. 19'58 the American As- 
sociation of Museum Fellowship for 
study at the Courtaulds Institute 
of Fine Arts. Supervisor Division of 
Public Instruction, Royal Ontario 
Museum, 1939-1945. Since 1940 
Lecturer Department of Fine Arts. 
Universitv of Toronto. 



EMANUEL HAHN, R.C.A., S.S.C. 
Studied Central Ontario School of 
Art and Industrial Design, School 
of Applied Art, Polytechnikum and 
Academy of Stuttgart, Germany. 
Represented National Gallery of 
Canada, Ottawa. Erected Adam 
Beck and Hanlan Memorials, Tor- 
onto. 

GUSTAV HAHN, R.C.A., O.S.A. 
Graduated Royal Wurtemberg 
School of Art and Design, Stuttgart, 
(lermany. Studied Munich and 
Italy. Instructor Modelling and 
Design in the Central Ontario 
School of Art and Industrial Design. 
Instructor in Desiaii Toronto '^Pech- 



DOROTHY HOOVER, B.A. 19^24 
Modern History, University of 
Toronto. 19'24-'28 Lecturer, Royal 
Ontario Museum. Past member of 
thic Canadian Society of Painters in 
Water Colour and Graphic Art 
Society. 

NICHOLAS HORNYANSKY, A.R.C.A. 
O.S.A., C.P.E. Born in Budapest, 
studied at the Academy of Fine 
Arts in Budapest, and later in 
Antwerp and in Holland. Studied 
Colour A(piatint ])rintmaking in 
Paris. Represented in many gal- 
leries and private collections in 
Canada, United States aiul Euro})e. 



JOHN FREELING HUNT. Studied at 
Ontario College of Art. Later in 
France, Italy, Germany and Eng- 
land on Scholarships. Instructor in 
Interior Design and Research at 
Parson's School of Design. Taught 
in Paris and in New York. Indus- 
trial and Interior designer in New 
York and Toronto. 

LILY LANGLEY. Studied in Win- 
nipeg School of Art and Ontario 
College of Art. Instructed at 
O.C.A. Teacher's Summer Course, 
and Saturday Morning Classes. 

JAMES W. G. MACDONALD, D.A. 
(Edin.) Design Diploma, Edinburgh 
College of Art. Four years designer 
*'Sundour" Fabrics, England. De- 
partment head, Vancouver 
Art School, B.C. Art College; 
Provincial Institute Calgary. Chart- 
er member Canadian Group of 
Painters. Life member B.C. Fine 
Arts Society. Represented National 
Gallery of Canada, Vancouver Art 
Gallery. 

JOHN MARTIN, O.S.A. liorn and 
educated in England. Studied 
design under Professors Needham 
and Hill (Slade Professor) of Not- 
tingham School of Art. Represen- 
ted in many collections in Canada 
and the United States. 

JOHN McLELLAN. Diploma of Art, 
Glasgow 1937. Newberry Medal- 
list and winner of post-graduate 
Scholarship. Art Teachers Diploma 
Great Britain. Instructed at the 
Summer School, University of Al- 
berta, at the Calgary Institute, and 
at the Banff School of Fine Arts. 



Recently studied with Bernard 
Leach at his Pottery in St. Ives, 
Cornwall. 

STANLEY G. MOYER. Studied 
Ontario College of Art. Pennsylvan- 
ia Academy of Fine Arts, Phila- 
delphia; National Academy of De- 
sign and Art Student's League, New 
York. Awarded $500. Fellowship 
Tiffany Foundation, Suydam Bronze 
Medal for Life Drawing, National 
Academy. 

ROWLEY MURPHY, A.R.C.A., O.S.A. 
Studied Toronto Technical School, 
Ontario College of Art, Pennsyl- 
vania Academy of Fine Arts, Phila- 
delphia, Passed Department of Edu- 
cation Teacher's Course Hamilton 
Training College. Official Royal 
Canadian War Artist. Represented 
in Pennsylvania Academy of Fine 
Arts, Philadelphia and National 
Gallery, Ottawa. 

WANDA B. NELLES. Studied 
weaving at Cranbrook Academy of 
Art and with Swedish weaver, Mrs. 
Martina Lindhal at Harland, 
Michigan; Penland School of Handi- 
crafts and with Anni Albers at 
Black Mountain College, N.S. 

FRANCES NEIL. Graduate of the 
Ontario College of Art. Awarded 
the Governor General's Medal. 
Taught Painting at Banff' School 
of Fine Arts. 

HARLEY PARKER. Studied at the 
Ontario College of Art under Frank 
Carmichael and at Black Mountain 
College under Joseph Albers. Mem- 
ber Canadian Society of Graphic 
Arts. 



41 



42 



WILL OGILVIE, M.B.E. StiiditMl 
Art StudcMits' League, New York, 
under Kiinoii Xicolaides. Meinher 
of Canadian (iroup of Painters and 
Canadian Society of Painters in 
Water Colour. Taught Life Compo- 
sition and Painting at Art Associa- 
tion School Montreal and was 
Director of the School until outbreak 
of war. Enlisted in Canadian Army 
in 1941. Was ai)pointed Official 
War Artist in 1{)4"2. Served in Sicily, 
Italy and North - W est Europe. 
Awarded M.li.E. 

GEORGE DOUGLAS PEPPER, A.R.- 
C.A., O.S.A. Studied Ontario 
College of Art, in England, France 
and Italy. Publicity Artist for 
Forest Service of Canada, Depart- 
ment of Interior for three 
years. Official War Artist with 
Canadian Forces Overseas. Rep- 
resented in the National Gallery 
of Canada, The Art College of 
Toronto, the Massey Collection, in 
Hart House, and in the National 
Gallery of South Africa. 

CARL SCHAEFER. Studied Ontario 
College of Art and in U.S.A. 
Awarded First Fellowship, Creative 
Painting Guggenheim Foundation 
1040-41; official Canadian War 
Artist. Member Canadian Group of 
Painters, Society of Graphic Art, 
Society of Painters in Water Colour. 
Represented National Gallery of 
Canada. 

HAROLD G. STAGEY. Born in 
Montreal, Quebec. Studied al Cen- 
tral Technical School and with 
Rudy Renzius in Toronto. For 
several vears instructed evening 



classes in Mctalwork at Central 
Technical School in Toronto. 

DONALD CAMPBELL STEWART, 
A.R.C.A., O.S.A., S.S.C. H o r n 
191^2 Hamilton, Ontario. Studied 
at Hamilton Technical School with 
John Sloan, Westdale Technical 
School with Ida Hamilton, Ontario 
College of Art with Emanuel Halin. 
Graduated in Sculpture in 19,S7 
with Lieutenant-Governor's Medal. 

ARTHUR J. TRACY, S.S.C. Studied 
Sculpture at the Ontario College of 
Art under Emanuel Hahn. Made 
study tour of Europe, 1934. Toured 
Scandinavian countries 1938. Work- 
ed in B.C. and California. Main- 
tained studio in Chelsea, England 
until outbreak of war. Served in 
R.A.F. and R.C.A.F. Exhibited 
Royal Academy. Member of Chel- 
sea Arts Club. 

SYDNEY H. WATSON, O.S.A. 
Born and educated in Toronto. 
Employed in Advertising Art in 
Toronto. Artist-in-residence, Lake- 
field Prep School 194^2-44. Liturgi- 
cal Designer. Director, Canadian 
Society of Painters in Water Colour. 

EARL WILSON. Graduated Ontario 
College of Art with Lieut. -Gover- 
nor's Medal. Studied American 
School of Architecture Fontaine- 
bleau France. Has Done Research 
work in England Italy and U.S.A. 

GORDON YEARSLEY. Has taught 
crafts in schools, camps, recreation 
centres for b2 years. Practical ex- 
perience in designing and construc- 
tion of wood products allows him to 
present his subject from the manu- 
facturers viewpoint. 



AWARDS AND SCHOLARSHIPS — 1 941-48 

FOURTH YEAR 

Goveunor-Geneual's Medal for Proficiency in Painting Donald Holden 

Lieutenant-Governor's Medal for Proficiency in Painting Hector Greville 

Ontario College of Art Medals: 

For Proficiency in Painting Arncjld Hodgkins 

For Proficiency in Commercial Art Felicia Robinson 

For Proficiency in Sculpture Eric De Luz 

PRIZE 

Joan Chalmers 

HONOUR DIPLOMA 

Drawing and Painting 
Donald Holden Arnold Hodgkins Joan Lowrie 

M. Arthur Thorne Hector Greville 

Helen Parsons Ronald Darby 

Commercial Art 

Felicia Robinson Frederick Davis 

>Siculj)ture 

Eric De Luz 

Design 
Albert LaBell 

Textiles 
Althea Edgar 

Furniture Design 

RUTHANNE SoUTER 

Metalwork Design 
Jane Fisher 

PASS DIPLOMA 

Drawing and Painting 

Gordon Coyle June Forbes Leslie Jones 

Edward McCormack Catharine Ross 

Cecilie Swaby Jacqueline Watts Winston Elliott 

Grant Johnston Jewell Kelly 

Peter McLean Norman Ortiz Margaret Smith 

Ernest Taylor Kathleen Williams 

Commercial Art 

Roberta Dafoe Mary Peart 

Sculpture 
Kenneth Dudley Roy Haliburton 

Design 
John Sinclair 

Metalwork Design 
Anarita Townsend 

Interior Architecture 
Joan Chalmers Margaret Peniston Robina Whyte 



43 



44 



Tiiiin) \K\\i 

S('H()i>\i{S!iii' — Adverlisin^ Jind Sales (lul) Scliolarsliij) — One 'I'enn Ja( k Hiudsall 

S(H()LAKsiiii»— OKeetes Scholarsliij)— One 'reriii Mauy Cane 

ScHOLAHsiiiP — J. F. M. Stewart Scholarsliip — One Term Rrxn McChacken 

Advertising and Sales Club Certificate James Taylor 

IMUZKS 
John IIionuy Kiby U<)(;ei{.s 

Walteu IIickling Stanley Sellen 

Veuna Jacques Charles Siieluon-\N illlvms 

HOXOIRS 

Drawing and Painting 

John Bechtel Anthony Llma Lorena Purdy 

Joan Damdson Bernard McLoughll\ (Jerald Scott 

Joan Folinsbee James Moffatt Stanley Sellen 

Walter IIicklinci Helen Nixon Recunald Shepherd 

Harold Laxton John Pollard James Willlvmson 

Conuncrcial Art 

Arthur Alder Gary Filewod Mary Johnston 

Dorothy Ashdown Gerard Garneau Karn Lewis 

Jack Birdsall Sidney Goldsmith John Muir 

Carol Campbell John Goodale Keith Smith 

Alfred Elliott Norman Hathaway R. C. Smith 

Herbert Ficht Nancy Jamieson James Taylor 

Sculpture 
William Clements Corbett Gray 

Donald Geary Wilfred Stewart 

Design 
Mahy Cane Bernard Des Roches Raymond Hughes 

MiLBURN Cleary Gordon Diplock Alan Olmstead 

Edward Gumming William Ellery Frank Perry 

Charles Sheldon- Williams Gladys Verity 

Textiles 
Patricia Elliott 

Interior Architecture 

P^LWIN CaTHCART ^'ERNA JaCQUES AnNAH JeAN MeIKLE 

John Henry Donald Lapp Ruby Rogers 

Ruth McCracken 



PASS 



(Jeorge Adamson 
Da\ ID Anderson 
DoutJLAs Barry 
William Coryell 

Jean Pu(;ii 



Ralph noRcniNioR 
Ralimi Rothwell 
Alfred 1)a\ idson 
Carl Eayrs 
James Gadsden 
Russell Hurdman 
Barbara Kelly 

William Williamson 



Drawing and Painting 
Frederick Down 

Rt)BERT DUNNE 

William Gee 
Douglas Hendry 

Keith Scott 

Connnercial Art 
Stanley Kinton 
Ernest Little 
Alexander McFadven 
Frank Milnes 
Beresford Mitchell 

(iERARD RoSTANT 

Arthur Steven 



Richard Howe 
Ri( HARD Know LEs 
Muriel New ton-White 
William Palleck 



Sydney Taylor 
Harold \'anstone 
Nan Waller 
Charles Walton 
John Weese 
Lyle Westman 
William Williams 



(JORDON WiNKWORTH 



Arthur Allertox 
Leslie Bennett 
Samuel de Rinzy 



James Bayley 
Beverley Bray 
Gay Clrran 
June Demerling 



Snilpfnrc 
Anne Shields 

Design 
Frederick Fi'ller 
David (iIllrie 
Raymond Mohr 

Tcrfilcs 
Joan Stevens 

Interior Arcliifcctnrc 
Lyle Fisher 
Edward Greenwood 
Carman Harrison 
Allen Lett 
Ernest Rex 

Ceramics 
Teresa Kidick 

Mefal Work 
Scott Darijach 



Charlotte Ritchie 
liERNARD Scott 
Jacqueline Wormley 



Nicholas Roman 
Thomas Swift 
James P. Thompson 
E. Ingar 



SECOND YEAR 

Scholarship — O'Keefe's — One Term Gi stay \Yeisman 

Scholarship — Mary E. Dignani Scholarship — One Year Dorothy (iREENBerc; 

Awarded by Women's Art Association of Canachi 

Scholarship — O'Keefe's — One Term Margaret McMillan 

Advertising & Sales Chil) Certificate Wallace Sheehax 

Canadian Art Laboratory Prize for Oil Painting Edward Yates 

PRIZES 

David Maynard Beryl Perry 
HONOCRS 

Drawing and Painting 
Christopher Adeney John Kidston Doreen Saville 

Reuben Blazer Robert Lawson Joseph Sherk 

Beverley^ Brl^ce Jane Lippert Walter Sloan 

Ida Chaloner Jack Lowry Elizabeth Smith 

John Climer Wallace MacKay Joan Sponagle 

Marilyn Dymond Alexander Millar (ii stay Weisman 

Dorothy (ireenberg Conrade Nelson John Whitfield 

Patricia Harvie Allan Oddy Edward Yates 

Percy Runnells 

Commercial Art 
Mary Armstrong Toivo Kaski Patricia Richards 

SusANNE Balkany Allan Laing Daniel Sekulich 

Ralph Blefgen Edwin Love Wallace Sheehan 

Theo Dimson David Mackay Andrew Van Rassell 

Anthony Fadelle Thomas Merchant Barbara Wilkes 

Hugh Holmes Rolph Pogi^e Doi^glas Wood 

Charles Huke (Jeorge Reid (Jeorge Young 

Albert Reinhardt 

Design 
RiTssELL Battram Ross Hetmler Kenneth Lindsey 

William (Gregory Robert Herald Margaret McMillan 

Louis Hartley William Hill Donald McCormack 

Barbara King 



45 



Kii'EUT Hopkins 
IlrxTKEY Keillou 



46 



H\I{|{AI{A (JUEEM 

James I) vmn 



M AUG A HEX AlLPORT 

Albert Bauk 
Claire Blais 
Hugh Brown 
I VAX Campbell 

Ci LADY'S ClAWSOX 

Philip Comptox 

XoRMAX CORKE 

Arthih Corry 
Charles Dawe 
Rosamond de Camps 
(iEorge Gastox 
Russell Gray 



William Abbiss 
David Aikexhead 
Robert Ball 
Frank Bull 
Frederick Carrigan 
Henry Chevalier 
Thomas Cully 
Murray Dickson 
Blair Dodsox 
Kenneth Duncan 
(George Empey 
Douglas Farrell 
Joseph Fitzimmons 
William Forsyth 
Robert Fraser 
Warren Gale 

Rita Clements 
Peter Frank 



Joseph Accette 

FrEDERH K (iRAHAM 

Leonard Hu(jgard 
Arthur McGhie 



Dennis (Jaiitmier 
BoHERT Easton 



liilcrior . irchilcdure 
Henry Kin(;don 
Ku<;ene MacDonali) 
David Mayxard 

Cera lilies 
r (■(whirs' Craft Course 

PASS 

Drawing and Painfimj 

JOAX (iRIERSOX 

Leslie Hartix(; 
ViviEX Kershaw 
George Koxkle 
Beatrice Lafrexiere 
roxald luetchford 
Mary Mac donald 
Hugh Mackenzie 
lorraixe alvrgueratt 
Muiuel Margueratt 
Harold Martix 
George Meadows 
Suzanne Mess 

CommereiaJ Art 
Mary Gerow 
Douglas Goodfellow 
Thomas Gosson 
William Gribble 
Ronald Harris 
Donald Hutson 
Leonard Hope 
Thomas Janes 
Helen Johnston 
Samuel Kyba 
James Lumbers 
John Ma( Dowall 
Gordon Mackie 
Edward Markham 
William Melville 

Senlptnrc 

Textiles 

}fetahrork 
Thomas Meadd 

Interior A rehitectnre 
Frederk K McXeei-y 
John Moise 

(JORDON O'RoURKE 

PASS 

Teachers' Craft (Umrse 



Beryl Perry 
Doris Thistlewood 



W. J. M( KiLi.oi' 
\\ II I.I \M Sloan 



David Millar 
William McLaughlin 
Della Noble 
Pamela Pepler 
Francis Reed 
Katherixe Ross 

BrU( E RUPPELL 

Arthur Simons 
David Stevensox 
Elizabeth Tedman 
Frank Travis 
Shirley Walker 
Margarita Wees 



Francis Milne 
William Newell 
Douglas Nolan- 
Edgar Oesch 
William Peters 
Roy Rice 
Edward Robinson 
Dorothy- Schmidt 
Ronald Scholes 
Murray Snelgrove 
John Solaruk 
Norman Stinsox 
Eva Sitcliffe 
Frank Weir 
Francis Whaley 
Norman Wynott 

Joan Michener 

(ioRDON SWETMAN 



Charles Robinson 
JoHx Russell 
Harry Wade 
Walter Wrkjht 



Murray Mi Don m.d 
John Rahkola 



Allan Bowman 
Agnes Chinery 
Joan Gtlmotr 



Dr.siijn 
DOKIS (ir.SE 

Joseph Hodgins 
Lillian Lafreniehe 



IIehbeht Tayloh 
GoHDON Tyler 
Javier Villada 



FIRST yi:ar 

ScnoLARSiiip — Mrs. K. S. M(L;mf>liliii Scliolarsliip One 'IVnn 
Scholarship — Mr. John Westren Scholarship- One Term . 
Scholarship — International Business Machines — One Term 



Be\ ERLEY LyNOE 

Hugh Thornton 
Kathleen Weber 



Eleanor Flint 
Betsy (tarlick 



PRIZES 

Earl Pollen 
Murray Todd 



William Wheeler 
(Gladys Smith 



Roy Anderson 
Shirley Berger 
Joan Bloss 
Douglas Bromley 
Dorothy Burnham 
Barbara Clapperton 
Jack Claus 
Randolph Covington 
Mary Cuthbertson 
Alan Darling 
Pamela Dixon 
William Dwight 
Eleanor Flint 
John Foote 
Albert Fucile 
F'rances Gage 
]?ETSY Garlick 
Audrey Garwood 
Annette Gofton 



MiKLOs Adamovits 
Bertrand Almas 
Richard Amodeo 
John Amodio 
Patricia Armstrong 
Wilmer Armstrong 
Donald Ball 
Neil Barr 
Louise Beck 
Robert Bender 
Roy Bowser 
Phyllis Brown 
Anne Campbell 
Ian Campbell 
Murray Campbell 
Mary Conley 
Thomas Coole 

AlLEEN CORFIELD 

Robert Cowan 
Dorothy (Jrysleij 
Alizette Dand 
Roy Da vies 
John Donovan 



HONOURS 

Kenneth Gray 
Kenneth Guild 
Robert Haynes 
Kathleen Hill 
Douglas Johnson 
Olga Kornavitch 
Donald Kuehner 
Beverley Lynde 
Kenneth Macpherson 
EiLEEN Mathers 
Robert McKinnon 
Robert McComb 
Allan McGuire 
Richard McLean 
David Murphy 
James Murray 
Alexander Ness 
Clayton Olivek 



PASS 

Joseph Dort 
aubin dowden 
John P^dnie 
Lois Etherington 
Raul Farell 
William Fentie 
James Fitzpa trick 
Margaret Florence 
Mary Foissier 
Robert Gaede 
Robert Garbitt 
Larry Geddes 
Elizabeth German- 
Ralph (iEORGE 
Andrew (Jillespie 
Barbara (Jitter 
William Gowe 

EdWAI{D (iREEN 

John Greenwood 
Shirley Gunn 
Ronald (Jynane 
Olive Hall 
Joy Hastik 



Douglas Patten 
Edward Pegg 
Earl Pollex 
Norman Pulham 
James Roy 

Alexander Shefchuk 
Artis Shreve 
Gladys Smith 
Thomas Stoddart 
William Sulkko 
Louis Suzuki 
Hugh Thornton- 
Murray Todd 
Roy Tomlinson 
Kathleen Weber 
William Wheeler 
Alice Wickson 
Elizabeth Wilson 
Kenneth ^'eing 



Donald Hayes 
Dorothy Henriques 
(lEORGE Hogarth 
Alexander Horen 
John Houghton 
Shirley Jakeman 
Elizabeth JoHNSf)N 
Thomas Johnson 
Murray Kearns 
Gloria Kelly 
Betsy Kennedy 
Robert Kent 
Oliver Kidson 
Betty Kimbark 
Geor(;e Kinsman 

liARBARA KoHLER 

Mero Kostecki 
Gordon Krinc; 

B. KUGLIN 

Edward Lally 
JiLii s Lebow 
P'rederick Lee 
Adeline Lepore 



47 



\\ ll.MAM Ijrn.KiAin 
KsTHKH L<)(iA.\ 

(Jkack L()\(;stai-|- 

LoUNK LOOKIOIJ 

John Lyons 
Klduki) MacAlpixk 
Jkan Mackeatii 

(IWKNDOLYN MaWSHAI.I. 
RoUKKT MaHSHALL 

Kmzauktii Mautix 

RoHKKT M( COUMICK 

Tehence McDonald 
Nancy McFahi{ex 
(Ierhard McIntyhe 
Jean McPhersox 
Ruth IVIcPherson 
William Mills 
Joyce Milne 
William Milnes 
William Moir 
Bernard Montgomery 
John Mortin 
Irene Mullin 



K A'lllLKKX XkVMO 

.\ax( Y ()<;lk 
Leila O'Kkilly 
James Park 
Alice Pe( k 
IlrcMi Perry 

JoAX PoLLETT 

Marilyx Poxd 
(JoRDON Prime 
Rosemary l{ATH(iEn 
(iILlian Kawsthorn 
Mary Richardson 
Mary Ro( he 
Herbert Rodman- 
Marjory Rogers 
Yetta Rtbin 
Anne Rutherford 
Patricia Scott 
John Sf;uLLY 
Shirley Smith 
George Spencer 
June Stevenson 
Marie Stewart 



John Si lli\ an 
Frederic K Swann 
Wallis Tait 
(Jf:or(;e Thompson 
N'elma Thompson 
Antony Thormin 
Dorothy Thormix 
Harry Thorxtox 
Marcjuerite Thorpe 
Ruth Lrquhart 
Elga Incjerson 
Kerttu Virtanen 
Ruth Wagxer 
John Wampler 
George Waring 
Phoebe Watsox 
James Watt 
Dixie Wansbroigh 
Kathleen Weston 
Anne Whyte 
Peter Wiens 
Richard Wise 



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